Americana has subsections like any other main genre. So when RJ Comer comes along producing a harder sound associated with Americana; it’s wasy to see that the electric guitar had a play date with Keith Richards, Howlin’ Wolf and Earl King.

RJ Comer released the Nightly Suicide EP about a month ago and ever since the proclaimed swamp aficionado himself learns to play fire with fire. RJ Comer may be this city boy from the West Coast, yet New Orleans is the true place Comer calls home. Nightly Suicide develops a rich after taste that does not smoother the idea of a New Orleans style that made the great South so diplomatic in Blues/Americana.

Steppin’ Down as the first track… allows RJ Comer to explain where he stands vocally, as an instrumentalist and songwriter. A strong track which opens the flood gates to the remaining spots on the EP to creatively show the different angles Comer intends to use. Complete with electric guitar solo’s vibrating and echoing in the background as RJ repeats “Steppin’ Down”. All around this track can easily act as an opener and closer for Nightly Suicide, sometimes mixing up the order in which the songs originally are supposed to be, helps to build a varied perspective on the artist.

For the second track named Nightly Suicide adds tribute to a long list of drowning your sorrows with alcohol. Yet this song confuses attraction with horror and in doing so transfers the heartache of a traditional Country tune into a rustic Blues singalong. Instead of wanting to feel at fault for not recognizing the agony that is inflicted upon Nightly Suicide you will want to tap along learning the way RJ fingers the strings on his guitar. One good reason to see the previous explanation as a “good” intention is, RJ Comer explicitly shares details by outlining the existing reality with a bit of dark humor.

“Angels love me but the devil owns me and the battle keeps me on my feet” hell of a way to start out a song. The Moon Ain’t Fallen On Me Yet begs anyone listening to concentrate on the lyrics. Because known to popular belief some lyrics hidden under the disguise of a cool guitar flicking away to a pretty detailed sound; the best lyrics are just beneath the surface, waiting to be heard. RJ Comer nips at our intentions and gestures to the audience to question wandering and the livelihood of a musician with a story that follows in pursuit.

Pulling the Nightly Suicide EP altogether is the clear idea Comer presents, One Day dares to name the crossroads (thank you Robert Johnson for having us forever wonder about these crossroads) where evidently “we” will meet. Whether RJ intended for this track to sound like a farewell action to another, is exactly how One Day comes off.

As far as impression go Nightly Suicide does the job of edging open that Blues/Americana/Swamp New Orleans Style of music window. Letting in enough heat to set RJ Comer’s words on fire and fueling the impulsive current that runs through the electric guitar that acts as a clear objective or singular being.